1. “The Tallest Woman on Earth” – Prints Jackson. Jackson’s on a never-ending song-a-month project (this one is month 33), and it seems like it’s only honing his skills: this fingerpicked folk tune is near-perfect. The vocals are engaging, the arrangement keeps morphing and changing, and the whole thing is a “can’t take my ears off it” success. Turn off the video you’re watching and just give this one your full attention: it will reward you.

2. “Still Believe in Love” – Darrin James Band. A spiritual successor to the swift, self-confident protest songs of The Freewheelin’ Bob Dylan, this fingerpicked travelin’ song is a protest anthem and a call for love all at once.

3. “Snake in the Grass” – Autumn Chorus. This a thoughtfully arranged chamber-folk piece with soft, arresting vocals. If you want a jolt, look up the story behind the song. Even if you’re not the researchy type, you can feel the gravitas here.

4. “Penny for Your Thoughts” – Einar Stray Orchestra. It takes chutzpah to put together an indie orchestra in 2016–the economics and logistics of it are just nightmarish. But the music that you can produce: whoa. This piano-led piece is punchy and yet organic, keeping a drumkit, thrumming bass, and pizzicato strings all balanced perfectly. It’s a complex whirligig that doesn’t draw attention to its moving parts and instead shows off the whole, awesome result.

5. “Astrovan” – Mt. Joy. Comes straight out of the SUSTO school of laidback irreverence: chilled-out alt-country that imagines Jesus driving an Astro van (among other things). I’m not on team Astro Van lyrically (“maybe there is no heaven”), but man, the melodic appeal and gentle groove of this song are hard to reject.

6. “Until I Fall Asleep” – Paul Cook & The Chronicles. Who doesn’t love a sub-two-minute acoustic pop lullaby? This one is sweet, kind, and lovely.

7. “Chasing Heights” – Bamik. No genre is ever dead–it just gets harder and harder to do something that’s genuinely riveting without just calling back to old cliches. But it is totally doable, and Bamik demonstrates it by making incredibly engaging folk-pop–that still sounds like Mumford and Sons crossed with Fleet Foxes. But in that juxtaposition is magic, and Bamik finds that magic. Fantastic.

8. “4th of July” – STILLS. The close vocal harmonies and harmonium make this a warm, immersive, intimate folk tune. I love what the harmonium can do for a song, and STILLS put it to great use here.

9. “Rising Men Down” – Kate O’Callaghan. O’Callaghan’s lovely Irish lilt leads this track, as she uses it softly and powerfully throughout the tune. The arrangement is sophisticated and impressive.

10. “Goodbye” – Lucas Laufen. The sound of sheep bleating and wind rustling in the background give this gentle ballad even more pastoral bonafides. Laufen’s voice meshes with the pristine guitar playing beautifully.

12. “Let Me Down Easy” – Andrea von Kampen. von Kampen has impressive control over her voice, swooping from a dignified near-whisper to a keening wail to an even-handed plea with tremendous ease. This amount of diversity is a mark of songwriting maturity, and this break-up tune has a rare thoughtful quality to it that drives home the idea even more.

13. “Hewing Crowns” – Her Harbour. A solitary, lonesome rumination over a solo piano–the room echo gives the vocal performance even more gravitas than the commanding-yet-vulnerable vocal performance itself brings to the table. Good news for people who like sad news.

Comments:

1. “Holy Ghost” – deer scout. Some songs have to grow on me, but “Holy Ghost” is instant: Dena Miller’s friendly, comfortable alto invites you in, and the intimate, burbling guitar asks you to sit down. This is a magnificent song that has me very excited for future deer scout work.

2. “Annie” – Patric Johnston. The acoustic guitar has a mellifluous, perfectly-delivered melody to lead this piece, and Johnston’s voice is buttery and smooth in the way of the Barr Brothers, Josh Ritter, and the like: mature, solid, and full of gentle charisma.

3. “The Weather Girl” – Prints Jackson. This one’s a vocals-forward troubadour folk tune a la old-school Joe Pug or occasional Justin Townes Earle. Jackson knows how to use his voice and guitar to best effect, and the resulting tune shines with an easygoing assuredness. This song has legs, and I hope it gets to use them–more people should know about Prints Jackson.

4. “Rain Thoughts” – Frith. You walk into a new club that’s supposed to classy. You find yourself greeted with the gentle sounds of a musician trained in Tom Waits drama but purveying that work via strings, stand-up bass, gentle piano, and a relaxed tenor. You’re going to like it here, and you’re going to visit more often. (Alternatively: the gravitas of trip-hop worked its way into a singer/songwriter tune.)

5. “All Day All Night” – River Whyless. River Whyless has always wanted to be more than just a folk band, and here they expand their sound with some rhythmic group vocals and satisfying thrumming bass that drops this tune somewhere between Fleet Foxes and Fleetwood Mac.

6. “Firetrain” – Todd Sibbin. The raw, youthful vocal presentation of Bright Eyes’ mid-era work meets the polished horns and wailing organ of early-era Counting Crows alt-pop. (I just mentioned two of my favorite bands.) In short, this is a fantastic pop tune.

7. “Absolute Contingency” – The Ravenna Colt. The lead guitar work and background vocals point toward an alt-country tune out of the slowcore, Mojave 3 school, but the rest of the tune is a shuffle-snare folk tune that’s just lovely.

9. “Revolver” – Vian Izak. It’s got that Parachutes-esque Brit-pop mystery to it, paired with the sort of chords and mood that evoke sticky, slow-moving days in the city. The results are unique and interesting.

12. “I Won’t Be Found” – Simon Alexander. The smoothness of traditional singer/songwriter mixed with the raw angst and passion of The Tallest Man on Earth’s vocals creates a distinct push and pull between punchy and silky.

13. “What It Is” – Alex Hedley. The purity and honesty of a fingerpicked guitar line and an emotional vocal melody are never going to get old to me. This particular tune is earnest without being cloying; moody without being morose. Well-balanced. Deeply enjoyable.

14. “Someday feat. Devendra Banhart” – Akira Kosemura. A fragile piano melody is joined by hushed vocals and romantic strings. It’s the sort of song that lovers have their first dance to.